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DIE PROVINZ. Ein Versuch Kultureller Vermittlung Zwischen Deutschen Und Tschechen
DIE PROVINZ. Ein Versuch kultureller Vermittlung zwischen Deutschen und Tschechen Mirek Němec Im Januar 1924 erschien im Weimarer Utopia-Verlag die erste Nummer der Zeitschrift DIE PROVINZ. MONATSSCHRIFT FÜR DIE TSCHECHOSLOWAKEI. Der Gründer und Besitzer des Verlags – Dr. Bruno Adler (= Urban Roedl) – wird neben Dr. Ernst Sommer und Ernst Bergauer, „sämtliche in Karlsbad“ (DIE PROVINZ 1924/1: 32), wo auch die Zeitschrift gedruckt wurde, als Herausgeber genannt. Die kulturpolitische Revue bekam den Titel DIE PROVINZ, denn „nicht der Welt und der Menschheit, sondern der Provinz ist diese Zeitschrift gewidmet“ (ANONYM 1924: 2). Der einfache Titel war auch Programm und verrät viel über die Intention der Herausgeber. Es ist daher aufschlussreich, die Bedeu- tung des Wortes ‚Provinz‘ zu interpretieren. Sie verschob sich im Laufe der Zeit und ist nicht eindeutig. Zunächst bezeichneten die alten Römer damit ein Gebiet, welches sich außerhalb vom römischen Stammland befand, aber im- merhin noch in ihrem Herrschaftsbereich lag. Später wurde mit dem Begriff allgemein ein größeres Gebiet bezeichnet, welches eine staatliche oder kirchli- che Verwaltungseinheit bildete. Im Laufe der Zeit änderte sich die Bedeutung des Wortes Provinz und bezeichnete nun den Gegenpol der Metropole oder des Zentrums. Diese Bedeutung war auch für die Herausgeber der Zeitschrift rele- vant. Für sie stand die Provinz in einer Opposition zur Großstadt, zum Fort- schritt und der Moderne. Sie zeichnete sich durch Rückständigkeit, durch An- timoderne und Kulturpessimismus, durch Heimatideologie und Heimatkunst, durch Konservatismus und Enge aus (MECKLENBURG 1982: 16f). In diesem Sinne war DIE PROVINZ für die Herausgeber ein Hoffnungsträger. Bruno Adler sah, unter Bezugnahme auf Oswald Spengler, in der PROVINZ die mögliche Rettung des Abendlandes (ROEDL 1924: 12–16). -
Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c. -
11 71 126 Bruno Adler Lotte Collein Walter Gropius Weimar in Those
11 71 126 Bruno Adler Lotte Collein Walter Gropius Weimar in Those Days Photography The Idea of the at the Bauhaus Bauhaus: The Battle 16 for New Educational Josef Albers 76 Foundations Thirteen Years Howard at the Bauhaus Dearstyne 131 Mies van der Rohe’s Hans 22 Teaching at the Haffenrichter Alfred Arndt Bauhaus in Dessau Lothar Schreyer how i got to the and the Bauhaus bauhaus in weimar 83 Stage Walter voxel 30 The Bauhaus 137 Herbert Bayer Style: a Myth Gustav Homage to Gropius Hassenpflug 89 A Look at the Bauhaus 33 Lydia Today Hannes Beckmann Driesch-Foucar Formative Years Memories of the 139 Beginnings of the Fritz Hesse 41 Dornburg Pottery Dessau Max Bill Workshop of the State and the Bauhaus the bauhaus must go on Bauhaus in Weimar, 1920-1923 145 43 Hubert Hoffmann Sandor Bortnyik 100 the revival of the Something T. Lux Feininger bauhaus after 1945 on the Bauhaus The Bauhaus: Evolution of an Idea 150 50 Hubert Hoffmann Marianne Brandt 117 the dessau and the Letter to the Max Gebhard moscow bauhaus Younger Generation Advertising (VKhUTEMAS) and Typography 55 at the Bauhaus 156 Hin Bredendieck Johannes Itten The Preliminary Course 121 How the Tremendous and Design Werner Graeff Influence of the The Bauhaus, Bauhaus Began 64 the De Stijl group Paul Citroen in Weimar, and the 160 Mazdaznan Constructivist Nina Kandinsky at the Bauhaus Congress of 1922 Interview 167 226 278 Felix Klee Hannes Meyer Lou Scheper My Memories of the On Architecture Retrospective Weimar Bauhaus 230 283 177 Lucia Moholy Kurt Schmidt Heinrich Kdnig Questions -
Fin-De-Siècle Vienna and Its Chroniclers He American Historian Carl E
VOLUME 16 NO.3 MARCH 2016 journal The Association of Jewish Refugees Fin-de-siècle Vienna and its chroniclers he American historian Carl E. particular to the weaknesses and deficiencies of Georg von Schönerer, both avowed anti- Schorske, who died in September Austrian liberalism. The liberals had suffered Semites. In Vienna, the stronghold of Austrian 2015 aged 100, was one of the greatest a stunning defeat through the failure of the liberalism, the election of Lueger as mayor Tand most innovative of the intellectual revolution of 1848, which, they had hoped, in 1895 marked the seismic shift that had historians working in the second half of the would establish a democratic, constitutional taken place in politics, the eclipse of classic twentieth century. It was Schorske who, form of government in the Habsburg Empire liberalism by the populist mass movements with his seminal study Fin-de-siècle Vienna: but was instead brutally suppressed by the of a new era. With characteristic acuteness, Politics and Culture (New York, 1980), Schorske focused on ‘the phenomenon of the took the concept of Vienna at the turn of disintegration of Austrian liberal society under the twentieth century and gave it the full the impact of anti-Semitism’, in his analysis of substance and significance with which we Arthur Schnitzler’s novel Der Weg ins Freie (The now associate it. Few historians have possessed Road into the Open) (1908); the title ‘refers to his wide range of cultural reference and his the desperate attempt of the cultivated younger ability to relate developments in literature, generation of Viennese to find their way into art, music, architecture or psychoanalysis the clear, their road out of the morass of a sick to their historical, political and intellectual society to a satisfactory personal existence’. -
Leseprobe 9783791385280.Pdf
Our Bauhaus Our Bauhaus Memories of Bauhaus People Edited by Magdalena Droste and Boris Friedewald PRESTEL Munich · London · New York 7 Preface 11 71 126 Bruno Adler Lotte Collein Walter Gropius Weimar in Those Days Photography The Idea of the at the Bauhaus Bauhaus: The Battle 16 for New Educational Josef Albers 76 Foundations Thirteen Years Howard at the Bauhaus Dearstyne 131 Mies van der Rohe’s Hans 22 Teaching at the Haffenrichter Alfred Arndt Bauhaus in Dessau Lothar Schreyer how i got to the and the Bauhaus bauhaus in weimar 83 Stage Walter Dexel 30 The Bauhaus 137 Herbert Bayer Style: a Myth Gustav Homage to Gropius Hassenpflug 89 A Look at the Bauhaus 33 Lydia Today Hannes Beckmann Driesch-Foucar Formative Years Memories of the 139 Beginnings of the Fritz Hesse 41 Dornburg Pottery Dessau Max Bill Workshop of the State and the Bauhaus the bauhaus must go on Bauhaus in Weimar, 1920–1923 145 43 Hubert Hoffmann Sándor Bortnyik 100 the revival of the Something T. Lux Feininger bauhaus after 1945 on the Bauhaus The Bauhaus: Evolution of an Idea 150 50 Hubert Hoffmann Marianne Brandt 117 the dessau and the Letter to the Max Gebhard moscow bauhaus Younger Generation Advertising (VKhUTEMAS) and Typography 55 at the Bauhaus 156 Hin Bredendieck Johannes Itten The Preliminary Course 121 How the Tremendous and Design Werner Graeff Influence of the The Bauhaus, Bauhaus Began 64 the De Stijl group Paul Citroen in Weimar, and the 160 Mazdaznan Constructivist Nina Kandinsky at the Bauhaus Congress of 1922 Interview 167 226 278 Felix Klee Hannes -
Object Checklist
Object Checklist History of the Bauhaus Fig. 1 Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau. Building: Walter Gropius, 1926. Photo: Junkers Luftbild, 1926. Gelatin silver print on postcard. 10.5 x 14.7 cm. Jan and Edith Tschichold Papers, 1899–1979. The Getty Research Institute, 930030 Fig. 2 Walter Gropius. Photo: Lucia Moholy, n.d. The Getty Research Institute, 920020. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Fig. 3 Hochschule für bildende Kunst, Weimar (Academy of Fine Arts, Weimar). Building: Henry van de Velde, 1904–1911. Photo: Louis Held, ca. 1906. Gelatin silver print. 15.5 x 22.2 cm. Bauhaus-Archiv Berlin, 6677 1 The Getty Research Institute 1200 Getty Center Drive, Suite 1100, Los Angeles, CA 90049 www.getty.edu Object Checklist Figs. 4, 5 Programm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus in Weimar), front and back. Text: Walter Gropius, 1919. Woodcut: Lyonel Feininger, 1919. Letterpress and woodcut on blue paper. 32 x 39.4 cm. Bauhaus Typography Collection, 1919–1937. The Getty Research Institute, 850513. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Masters and Apprentices Fig. 6 Group portrait of Bauhaus masters, from left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl, Oskar Schlemmer, photographer unknown, 1926. Newsprint. 19.1 x 28.7 cm. From Das Illustrierte Blatt, No. 50, p. 1131. Jan and Edith Tschichold Papers, 1899–1979. The Getty Research Institute, 930030 Fig. -
Weimar Dessau Berlin Chicago Hans M. Wingler
The Bauhaus Weimar Dessau Hans M. Wingler Berlin Chicago Contents Preface ix Walter Gropius Preface to the Second Printing ix Speech before the Thuringian Land- Color Plates 1-24 tag in Weimar on July 9, 1920 42 Origin and History of the Bauhaus xviii The Statutes of the Staatliche The Documents ofthe Bauhaus 13 Bauhaus in Weimar 44 The Masters of the Staatliche 1 The Prehistory of the Bauhaus 17 Bauhaus in Weimar Gottfried Semper Bauhaus Prints-New European Science, Industry, and Art 18 Graphics 48 William Morris Bruno Adler Arts and Crafts Circular Letter 19 FineArt in Weimar 49 Deutscher Werkbund Johannes Itten Program (1910) 19 Analyses of Old Masters 49 Walter Gropius Paul Klee Program for the Founding of a The Play of Forces in the Bauhaus 50 General Housing-Construction Company Following Artistically Walter Gropius Uniform Principles, 1910 20 The Necessity of Commissioned Work for the Bauhaus 51 Henry van de Velde Letter of April 11, 1915 to Walter Walter Gropius Gropius 21 The Viability of the Bauhaus Idea 51 Henry van de Velde Staatliches Bauhaus in Weimar Letter of July 8,1915 to Walter Gropius 21 Exhibition of the Work of Journey- Fritz Mackensen and Walter Gropius men and Apprentices in the Staat- Correspondence of October 1915 22 Iiche Bauhaus Weimar, April-May 1922 54 Walter Gropius Recommendations for the Founding Members of the Council of Masters of of an Educationallnstitution as an the Weimar Bauhaus Artistic Counseling Service for Indus- "Master" or "Professor," Opinions on try, the Trades, and the Crafts 23 the Title Question 54 Wilhelm von Bode Wassily Kandinsky The Tasks of Art Education after the The Value of the Title of Professor 56 War 24 Lyonel Feininger From a Letter to Julia Feininger Dated Grand-Ducal Saxon Academy of Art September 7,1922 Petition to the Ministry of State Re- 56 garding Reform Recommendations Lyonel Feininger from the Faculty 25 From a Letter to Julia Feininger Dated Walter Gropius October 5, 1922 56 Letter of January 31, 1919 to Oberhof- Gerhard Marcks marschall Baron von Fritsch 26 On the Planned Bauhaus Week. -
German-Jewish Refugees and German Public Service Broadcasting
VOLUME 15 NO.7 JULY 2015 journal The Association of Jewish Refugees German-Jewish refugees and German public service broadcasting ne of the most successful Perry, a native speaker of German, was institutions established by the the station announcer; his duties included Allies in occupied Germany after introducing British and American war O1945 was the system of public service reporters who were making broadcasts from broadcasting that originated in the British Radio Hamburg, both for local audiences Zone of Occupation and was subsequently and to be picked up for onward transmission. extended to the rest of the country. It An added irony was that Perry found himself was no accident that this development, broadcasting from the same microphone that crucial to the creation of a functioning only two days previously the notorious Nazi democracy in post-Hitler Germany, was propagandist William Joyce, known as Lord started by the British, for in the BBC Britain Haw-Haw, had used for his final broadcast. possessed the model of a broadcasting service The irony was compounded when Perry independent of governments, political subsequently came across Joyce in woods parties and commercial interests. outside Flensburg, shot him in the backside Less well-known is the part played by when he made to escape, and took him German-Jewish refugees in this transfer prisoner. Joyce was executed for high treason of a quintessentially British institutional on 3 January 1946. structure to occupied Germany. Some Walter Eberstadt was born in Frankfurt in had been involved in the BBC’s radio 1921, into a banking family that had moved broadcasts to Germany during the war; to Hamburg in 1930. -
Johannes Itten & Thun: Nature in Focus 8.8
JOHANNES ITTEN & THUN: NATURE IN FOCUS 8.8.–22.11.2020 ENGLISH INTRODUCTION Johannes Itten (1888–1967) is a prominent figure in twentieth-century art history. What not many people know, however, is how much his perceptions of landscape and nature were influenced by his early years in Thun and his ramblings around Lake Thun and the surrounding area. The exhibition begins with these early days in Itten’s career and presents a number of never-before-seen paintings and drawings that document the extent to which the artist’s experience of the landscape around Thun inspired a concept of nature that was fundamental to his art, helping us to trace a trajectory from the nature studies of his youth to his work after 1940. 1 BIOGRAPHY studies again in October at weaving and teaches at the 1939 the École des Beaux-Arts in affiliated art school. Holds Weds Anneliese Schlösser. 1888 Geneva. lectures on Mazdaznan Johannes Itten is born on teachings. 1943 11 November in Süderen- 1913 Director of the Textilfach- Linden (Bernese Oberland) Returns to Bern. Switches 1925 schule der Seidenindus- to the teacher and farmer to the Academy of Fine Arts Moves to Berlin. triegesellschaft (Textile Johannes Itten and Elise in Stuttgart, studying with School of the Silk Indus- Jost, a farmer’s daughter. Adolf Hölzel. 1926 try Society) in Zurich (until Founds the Modern Art 1960). 1892 1914 School of Berlin. Father’s death. Itten lives When the war breaks out, 1944 for two years with his Itten temporarily returns to 1929 Exhibition “Colour in Nature, grandmother in the Jost Thun. -
The Fire Tower Luisa Rossi Costa the Fire Tower Was a Project by Johannes Itten, One of the Most Important Exponents of the Bauhaus Movement
Elena Marchetti The Fire Tower Luisa Rossi Costa The Fire Tower was a project by Johannes Itten, one of the most important exponents of the Bauhaus movement. The aim of this paper is to describe the shape of The Fire Tower with the language of linear algebra and give a virtual reconstruction, in order to understand how Itten managed to concretise his strong mathematical intuition in an artistic form, even though he was unable to formalise it entirely with adequate instruments. Movement gives birth to form, form gives birth to movement. Every point, every line, plane, every body, every shadow, every light, every colour, are forms born of movement, which again give birth to movement. J.Itten, 1921 Introduction The “Bauhaus” artistic movement, which takes its name from the school founded by Walter Gropius in 1919, certainly occupies a very prominent position among the twentieth century currents aiming at a union between art and rationality. The artists who founded it or subsequently took part in it never neglected to juxtapose technical subjects with their artistic studies. Mathematics and geometry generally had a fair space in their school curricula and consequently came out in their artefacts at all artistic levels (painting, sculpture, textile manufacture, etc.) so much so that there are many works, where mathematical-geometrical readings can be obtained [De Michelis and Kohlmeyer 1996; Droste 1994; BAB 1999]. An intriguing example of such an approach is the project for The Fire Tower by Johannes Itten, one of the most important exponents of the movement (Figure 1). The project, frequently mentioned in his Tagebücher (Diaries) [Badura-Triska 1990], was realised as a prototype. -
Dreieck, Kreis, Kugel
Dreieck, Kreis, Kugel. Farbenordnungen im Unterricht von Paul Klee am Bauhaus Inauguraldissertation der Philosophisch-historischen Fakultät der Universität Bern zur Erlangung der Doktorwürde vorgelegt von Marianne Keller Tschirren Niedermuhlern/BE und Oberthal/BE Bern, Oktober 2011 Von der Philosophisch-historischen Fakultät auf Antrag von Prof. Dr. Oskar Bätschmann, em. Ordinarius, Universität Bern (Erstgutachter) und Prof. Dr. Tristan Weddigen, Universität Zürich (Zweitgutachter) angenommen. Bern, 28. März 2012 Der Dekan: Prof. Dr. Heinzpeter Znoj Inhalt I. Einleitung ......................................................................................................................... 4 II. Unterricht am Bauhaus 1. Die Diskussion um den Kunstunterricht ....................................................................... 18 2. Ausbildung und Unterricht ........................................................................................... 23 3. Form- und Gestaltungsunterricht von Paul Klee ........................................................... 26 III. Farbe im Unterricht 1. Johannes Itten und Wassily Kandinsky ......................................................................... 37 2. Paul Klee – Die Ordnung der Farben ............................................................................. 49 Helldunkel ..................................................................................................................... 60 Farbenkreis .................................................................................................................. -
Friedl-Letters-Collection-Anny – Part 1
Friedl Dicker-Brandeis, Briefe und Leben Projekt der Gemeinnützigen Organisation Janusz Korczak House in Jerusalem (1) “Anny Briefsammlung” Briefe 1919 – 1935 (1.Teil)1 F-xxxxFULL [Weimar, 1919?] F-12.883_2 +F-12.883_2-1FULL [Weimar, winter, 1920] F-13.706_2-1 + F-13.706_2-2 + F-13.706_2-3 + F-13.706_2-4FULL [Weimar, 1920] F-13.706_5a+F-13.706_5b+F-13.706_5c+F-13.706_5FULL [Weimar, 1920] F-12.883_4c2END F-12.884_1-1+ F-12.884_1-2 + F-12.884_1-3 + F-12.884_1-4 + F-12.884_1-5+F-12.884_1- 6FULL [Weimar, 1920] F-13.709_1-1+F-13.709_1-2+F-13.709_1-3+F-13.709_1-4FULL [Vienna, Autumn, 1920] F-13.709_3+F-13.709_3-1+F-13.709_3-2+F-13.709_3-3FULL [Weimar, 1920] F-13.711_3-1 + F-13.711_3-2 + F-13.711_3-3UNFIN (unfinished) F-13.711_4 + F-13.711_4a + F-13.711_4b-1 + F-13.711_4b-2 + F-13.711_4bFULL F-13.711_5+F-13.711_5-1VERSE F-13.712_2 + F-13.712_2-1END [From Vienna to Weimar, Winter, 1920] F-13.701_5-1-POEM+F-13.701_5-2+ F-12.8_x2-TO STEFANEND (1920/21) F-13.705_3a-2+ F-13.705_3a-7+ F-13.705_3a-6+ F-13.705_3a-8 END F-13.705_4 + F-13.705_4-1 + F-13.705_4-2PLAY [„Play“ in a different handwriting] [Weimar, 1921?] F-13.707_2FRAGM F-13.707_3FULL [Weimar, 1921] 1 Die ungefähre Datierung von Elena Makarova F-13.705_5-right+ F-13.705_5-bottom+ F-13.705_5-left+ F-13.705_5-top FULL [Weimar, end of 1920 or beginning of 1921] F-13.706_1(S)FULL [Berlin, 1921/22] F-12.883_3 + F-12.883_3-1FULL [Dresden, April, 1921] F-13.708_4 + F-13.708_4-1 + F-13.708_4-2fULL [Dresden, April/May 1921] F-12.884_2+F-12.884_2-1+F-12.884_2-1aFULL [Bauhaus, Mai 1921] F-12.885_1+F-12.885-1-1